There is a strong theme (the historical plight of refugees and the
hope for a more unified world), there is an orchestra, there is a choir,
there is (most of) Hackett’s amazing band, there is Flamenco guitar,
there is flute and mandolin, there is Prog, there is Rock, there is a
mixture of styles, and yes, there is world music. And yet, there is
always Hackett’s unmistakable electric guitar.
“Behind the Smoke” starts the album gently with a flamenco-style
intro but soon turns into a massive grinding riff that suddenly,
mid-song, reveals Hackett’s intention to expose his world music
proclivities, with an eastern-sounding interlude. Soon enough, though,
the massive wailing Hackett electric guitar that we know and love,
returns to end the song. The second track, “Martian Sea”, is a
quick-paced, pop ditty that relies on Gary O’Toole’s cheerful and
up-beat drumming. It has a catchy hook and a nice Hackett solo. Again
the international influence is to be found in the sitar and violin
interludes, which sound more Eastern and Middle-Eastern than Martian.
“Fifty Miles From the North Pole” is a slow and solid track with a
James Bond-themed guitar sound. 007’s presence notwithstanding, the song
conjures images of icy, arctic travel undergone by our poor
protagonist, without the resources of “M”, nor indeed anyone else,
behind him. The solo is typical Hackett. The icy vocals are almost
spoken rather than sung, and the Eastern influences are insistently
present in the strings parts. One is just beginning to feel that the
song could have been edited to be half the length, when Hackett stamps
his authority with a great solo that could have been found on an early
Genesis record.
Tabla-like percussion (perhaps played on an acoustic guitar) hints
that “Anything but Love” might end up being pure world music, but
inexplicably, a typical Hackett acoustic guitar solo then gives way to a
pure and simple pop song that could be a top ten hit with the hook “But
you’ll never get away with anything but love”. It even has a harmonica
solo, and definitely sounds like BOC’s “Don’t Fear the Reaper”. It’s not
GTR, but it’s a great pop song.
“Inca Terra” starts as a slow and gentle ode with mythical lyrics
sung in pastoral harmony. It is the heart of the album, and given its
theme, one expects a Proggy direction, and that expectation is fulfilled
later in the song. At times it sounds almost like a Greek traditional
hymn (is that a bouzouki?), but then Hackett shows his roots with an
acoustic guitar flourish that leads into a complex and fast-paced
arrangement, climaxing in a huge Hackett solo that any Progger will
appreciate. Hints of classic Genesis in full flight appear towards the
end. A very good Prog arrangement indeed.
“In the Skeleton Gallery” has been performed live quite a few times
by now, While it is not an obvious “single” (does such a thing exist in
Prog anyway?), it seems at the start to be one of the more accessible
songs, but don’t be fooled. Slow and intense, it has a pleasing initial
melody, but expect a dark, eastern-sounding woodwind interlude, and a
quirky change of direction led by keyboardist Roger King. It then leads
into a heavy Prog instrumental arrangement built around that quirky
keyboard riff that also comprises the ending. King’s influence is strong
on this one.
“West to East” is another story of international alienation and the
need for the world to unite. While the instrumentation is suitably
precise and excellent, up to the standards expected of a musician like
Hackett, this song is all about the message. If you are opposed the exit
of Great Britain from the Union, or certain immigration policies
recently implemented by the US, expect to identify with these lyrics.
“The Gift” is a short instrumental closer that will please fans of
Hackett’s traditional guitar achievements. It is sad, lonely and
reflective and ends the album with due pensiveness.
Although not as immediately accessible as his most recent releases
times, due to the many directions taken, as well as the many world music
influences introduced, ‘The Night Siren’ is still a Steve Hackett
album, and it is one worth investing in. ‘The Night Siren’ is an album
with substance and an urgent message. Expect to be transported to the
East (or Middle East) from time to time, but expect your Prog hunger to
be satiated as well. Perhaps Steve Hackett’s darkest work, it still has
many great moments and reminds us we simply cannot ignore the fact that
Steve Hackett is indeed a living legend.
CD:
1. Behind the Smoke (6:59)
2. Martian Sea (4:40)
3. Fifty Miles from the North Pole (7:08)
4. El Niño (3:52)
5. Other Side of the Wall (4:01)
6. Anything but Love (5:56)
7. Inca Terra (5:54)
8. In Another Life (6:07)
9. In the Skeleton Gallery (5:09)
10. West to East (5:14)
11. The Gift (2:45)
Line-Up:
Steve Hackett – electric & acoustic guitars, oud,
charango, sitar guitar, harmonica, vocals (1 – 11)
Roger King – keyboards and programming (1 – 10)
Amanda Lehmann – vocals (1,2,3,6,7,8,9,10)
Christine Townsend – violin, viola (3, 4, 5, 7, 9, 10)
Rob Townsend – baritone & soprano sax, flute, flageolet,
quena, duduk, bass clarinet (1, 4, 7, 9)
Gary O’Toole – drums (3, 4, 10)
Nick D’Virgilio – drums (2)
Gulli Briem – drums, cajon, percussion (7,9)
Mira Awad – vocals (10)
Leslie-Miriam Bennett – keyboards (11)
Troy Donockley – Uilleann pipes (8)
Dick Driver – Double bass (3,4,5,7)
Nad Sylvan – vocals (7)
Kobi Farhi – vocals (10)
Benedict Fenner – keyboards and programming (11)
Jo Hackett – vocals (10)
John Hackett – flute (2,10)
Ferenc Kovács – trumpet (3)
Sara Kovács – didgeridoo (3)
Malik Mansurov – tar (1)

“Memento” (DiN52) is the fifth DiN CD collaboration between label
boss Ian Boddy & renowned composer and touch guitarist Markus
Reuter. They were there at the birth of DiN in 1999 with their inaugural
release Distant Rituals (DiN2) and this latest work not only
affectionately looks back to that album but forges ahead into new
musical territory.
The album opens with the powerful tour de force of “Gyroscope” with
its ever evolving guitar arpeggios and thunderous percussion. The
following track “Spindrift” has a mysterious harmonic feel highlighted
by Reuter’s beautiful guitar playing & Boddy’s ambient production.
“Linger” & “Stay” form a pair of soundscapes where Reuter’s guitar
loop ambiences are intermingled with extraordinary analogue textures
from Boddy’s Serge modular synthesiser. The former provides a breathing
space within the album after the two opening tracks whereas the latter
brings the CD to a gentle, drifting close. The title track hearkens back
to the duos first collaborative album with it’s pulsing cut up
treatment of a Reuter guitar loop soundscape and perhaps informs the
listener as to the nature of this “Memento”. Although Boddy often keeps
in the background in terms of lead solo work when working with Reuter
the track “Deadlock” features an Ondes Martenot style synth line that
soars above this dark emotionally laden piece.
Once again Reuter & Boddy have proved to be a potent musical team
with their balance of styles producing a complex, deep album.
Effortlessly crossing genres between prog and ambient electronica it not
only looks back to their roots but creates new sonic landscapes for the
listener to explore.
Track listing:
01 Gyroscope (07:45)
02 Spindrift (06:56)
03 Linger (06:24)
04 Memento (06:31)
05 Vermilion (09:08)
06 Deadlock (09:34)
07 Stay (06:26)
Total Time: 52:58
All tracks composed, played & produced by Markus Reuter & Ian Boddy (September - November 2016).
Mixed by Ian Boddy & Markus Reuter (November 2016).
Mastered by Ian Boddy @ DiN studio (December 2016).
Markus Reuter:
Touch Guitars® AU8, 6-string Electric Guitar, Looping, Programming
Ian Boddy:
Serge & Eurorack Modulars, Moog Voyager, Ableton Live running NI
Kontakt, Spectrasonics Omnisphere & Camel Audio Alchemy